Then, still continuing his gossip, he carried his old comrade along to the threshold of the reading-room, opposite the grand central gallery, whose successive halls spread out below them. In the rear, the reading-room still retained its quietude, only disturbed by the scratching of pens and the rustling of newspapers. One old gentleman had gone to sleep over the _Moniteur_. Monsieur de Boves was looking at the pictures, with the evident intention of losing his future son-in-law in the crowd as soon as possible. And, alone, amid this calmness, Madame Bourdelais was amusing her children, talking very loudly, as in a conquered place. "You see, they are quite at home," said Mouret, who pointed with a broad gesture to the multitude of women with which the departments were overflowing. Just then Madame Desforges, after nearly having her mantle carried away in the crowd, at last effected an entrance and crossed the first hall. Then, on reaching the principal gallery, she raised her eyes. It was like a railway span, surrounded by the balustrades of the two storeys, intersected by hanging stairways and crossed by flying bridges. The iron staircases developed bold curves, which multiplied the landings; the bridges suspended in space, ran straight along at a great height; and in the white light from the windows all this iron work formed an excessively delicate architecture, an intricate lace-work through which the daylight penetrated, the modern realization of a dreamland palace, of a Babel with storeys piled one above the other, and spacious halls affording glimpses of other floors and other halls _ad infinitum_. In fact, iron reigned everywhere: the young architect had been honest and courageous enough not to disguise it under a coating of paint imitating stone or wood. Down below, in order not to outshine the goods, the decoration was sober, with large regular spaces in neutral tints; then as the metallic work ascended, the capitals of the columns became richer, the rivets formed ornaments, the shoulder-pieces and corbels were covered with sculptured work; and at last, up above, glistened painting, green and red, amidst a prodigality of gold, floods of gold, heaps of gold, even to the glazed-work, whose panes were enamelled and inlaid with gold. In the galleries, the bare brick-work of the arches was also decorated in bright colours. Mosaics and faience likewise formed part of the decoration, enlivening the friezes, and lighting up the severe _ensemble_ with their fresh tints; whilst the stairs, with red-velvet covered hand-rails, were edged with bands of polished iron, which shone like the steel of armour.